SiMON FRASER UNIVERSITY
MEMORANDUM
?
S.
To.. .
Senate ?
.
From ?
Senate Committee on
Academic Planning
Subject
Centre for theArts-
?
Date. ?
March 17, 1978
Program Development
Action taken by the Senate Committee on Academic Planning
at its meeting of March 8, 1978 gives rise to the following
motion:
Motion:
That Senate approve in principle the proposed third
stage of development in Fine Arts including the
Major in Dance, the Major in Theatre and the Minor
in Visual Arts, but with no commitment on the timing
of implementation.
Purpose of the Development Plan
Specific programs will be conveyed to Senate for formal
• ?
approval but the development plan provides an overview so
that each program can be considered in context. It is con-
sistent with earlier proposals but it also reflects experience
in the first stages of implementation. In fact, concern was
expressed that further developments should not preclude
maintenance of programs now well received, i.e. the development
of majors may make it feasible for minors to be modified to
require less specialization but minors must not be discontinued.
Academic Planning and Funding
Each new program approved in due time by Senate, the Board
and the Universities Council qualifies for New Program and/or
Emerging Program funding. SCAP noted that in times of
financial stringency, however, the total grant increase including
such designated funding might well be too small to meet
inflationary costs let alone finance program development.
Council acknowledges university autonomy and makes a single
block grant which the University is "free" to distribute
according to its own priorities. Howe
T
er Council does note
the factors considered in determining the division (including
specific new and emergent programs). The University's
credibility is at stake if its internal allocations do not
parallel its asking budget to some reasonable degree. Partly
for this reason members of SCAP felt it would be advantageous
• ?
to utilize a two-stage process in academic planning:
1.
Consider programs as they come forward and recommend
approval on their academic merits.
2.
Subsequently (once yearly) consider all programs which
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,0
have been approved and recommend priority within
realistic fiscal constraints.
Reasons for Approving Programs
The University has already determined the general shape of
developments in Fine Arts by approving lower division "arts
in context" courses and minor programs in Dance, Theatre and
Film within a framework for further, orderly growth. The
Universities Council has reviewed the Fine Arts programs of
the three B.C. Universities and has approved our Dance and
Theatre Minors noting that development of a Dance program
should be limited to S.F.U. Council's consultant (from Quebec)
made laudatory comments about the unique and lively fine arts
program at Simon Fraser. The attached development plan is
intended to further flesh out the framework earlier proposed
and thereby to provide a clear context within which specific
program proposals will be considered over the next few months.
Despite the fact that the initial decisions approving
development of credit programs in Fine Arts have long since been
made, SCAP felt it necessary to discuss reasons why any new
program might be approved or rejected. Some consensus developed
about the following clusters of questions:
1.
Is there potential for excellence? Can the program
be done at Simon Fraser as well as or better than
anywhere else?
2.
Does the program fit University goals (even if those
goals are largely implicit)? e.g. Does it provide
quasi-professional preparation built upon academic
fields represented at S.F.U.?
3.
Will the program contribute to enriching existing
programs? Is there potential synergism?
4.
Is there some obvious relationship to the community?
Program development in the Fine Arts appears to fulfill these
reasons for approval. The uniqueness of Dance at S.F.U. as
the only B.C. university offering it and the integrative nature
of Theatre make these the first programs for development of a
major. The lively and illustrious record of our Film Workshop
makes a Film Minor part of a Fine Arts core program at S.F.U.
even though it is more peripheral in most institutions, i.e.
we are building on our strengths. Development of a minor in
Visual Arts is seen as supporting the fields currently further
advanced at S.F.U. Overall the Fine Arts programs are seen as
enriching education in the humanities by providing an integration
of academic and performance aspects of the arts.
is
0
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I,
?
Capital Implications
The University's five-year Capital Plan does not include
capital construction designated for Fine Arts. It does,
however, provide for analysis of needs and the beginning
stages of facilities design in the fifth year. Developments
projected in the current plan will be accommodated in space
released by the Faculty of Education when the Multi-purpose
Building (Classroom Complex II) is completed and Archaeology
and Education move in (Fall 1978). We certainly do not
anticipate creation of highly specialized facilities in the
near future but provision of flexible-use space in the
Professional Development Centre (Education Buildings) will
relieve much of the strain on facilities now used by the
Centre for the Arts. The University is also seeking means of
enhancing its relations with the community by utilizing
community facilities. A major theatre complex is planned as
part of New Westminster's downtown re-development. It will
serve the needs of Douglas College and may meet some of our
needs as well.
.
Pauline Jewett
Imp
Attachment
04
sc4i
as updated
p
to
U'.
March 8, 1978
CENTRE FOR THE ARTS
PROGRAM DEVELOPMENT
This is to request approval in principle for a third stage in the
academic program development in the Centre for the Arts. In this
phase, to be completed by September of 1980, we propose a major
in Dance, a major in Theatre, a minor in Visual Arts-
It is
our hope that the Film minor already approved by the University
5
?
will be authorized by the Universities Council.
Although these programs together represent a major development phase,
they are not entirely new. Academically, they are extensions of
the basic Ideas that have governed the development of the Centre for
the Arts. In financial terms, they build very largely upon resources
already committed to the arts at Simon Fraser. Because the description
of this new stage is fairly lengthy and complex, it is divided into
three sections. An Introduction discusses some general matters. In the
second section the programs and courses are outlined with as much
specificity as is possible at this time. A third section identifies
the limited additional resource requirements for these programs.
'1
S
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?
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I. INTRODUCTION
A. ?
BACKGROUND
In initiating the development of credit programs in fine and performing
arts, the University accepted the principle of phased development, per-
mitting the gradual growth of courses and programs that would be
coherent at each stage. The first phase saw approval of the idea of
working toward fairly intensive undergraduate programs in Dance, Film,
Music, Theatre and Visual Arts, together with approval of a small
number of General Studies courses. The second phase, outlined in
Senate Paper S.76-21, passed by Senate in February of 1976, proposed
minor programs in Dance, Film and Theatre, a number of supporting
courses, and an administrative reorganization creating the Centre
for the Arts. This second step was virtually achieved by Senate action
in April of 1977. We now have minors in Dance and Theatre, and await
final disposition of our request for a Film minor from the Univesities
Council. This paper is a sequel to S.76-21, in which we propose
another carefully considered phase of growth. Given approval in
principle by Senate for this next stage, we will introduce for indivi-
dual approval over the next several semesters courses and programs
which contribute to this general shape. At the same time, this paper
can lead to the formulation of a "Letter of Intent" to the Universities
Council which gives that body adequate notice of the University's plans.
Although the plans we propose here will not be in full operation for
more than two years from now, and although this timing represents a
considerable slowing of our initial intent, we recognize that the
financial status of the provincial universities requires us to plan
coherently over a relatively long term. We also recognize that highly
specific proposals at this point would only be misleading: we intend
to continue considering possible courses and requirements which will
best fulfill our intent. What we can do here, then, is to
.
set out
some basic considerations and a program design which will enable the
S
is
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University to judge the direction and scope of our plans, as well as
to gauge the costs of the new developments.
B. THE NEED FOR GROWTH
A steady and considered pattern of growth was a fundamental part of
our initial concept, but it should be re-emphasized that immediate
growth is not proposed: there will be a three-year interlude between
the effective dates of the second and third phases. The programs now
in place are already showing remarkable results: there is at present
a vitality, dedication, and range of interests among our students that
is very gratifying. This degree of success however, in itself presents
a strong imperative for further growth. From the point of view of
serious students of the arts, minor programs are not sufficient: the
need to graduate with a major in another department means that their
true centre of interest must be sacrificed at crucial times in order
to complete academic work elsewhere. Further, this can lead to the
unfortunate situation in which a declared major in another subject
is completed in a cursory way. Finally, our premise that the arts
can usefully be studied in conjunction with each other tends to be
defeated by the fact that many students have time to complete only the
minimum requirements for a single minor together with their
programs outside the department.
An indefinite continuation of our present status would be equally
serious from the faculty point of view. Our present faculty have shown
remarkable energy and concern in building a new department. It is simply
the case, however, that a faculty of high calibre cannot be retained
in nor attracted to a department for which the development of major
programs has been indefinitely postponed. Growth need not be immediate,
should not be hasty, and cannot be extravagant, but it must be a real
possibility if there is not to be a kind of implosion of the present
energies of faculty and students.
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.
There is a final reason for growth to a new stage of the dimensions
we propose. The idea of developing a program in a single art from was
considered and specifically rejected at the time of our initial proposals
to the University. It was not deemed necessary that all programs be
brought along at the same rate, but program planning in all five art
areas was-viewed as essential to our multi-disciplinary concept. In
our view it would be a mistake to propose the development of a single
major in isolation, or to propose two majors at the expense of additional
minor programs. The opportunity of bringing students of the various
arts into significant contact with each other and with other art forms
is too great to risk seriously unbalanced development.
C. ?
SOME GENERAL CONSIDERATIONS
In planning our first major programs we have faced with particular
intensity the questions that beset all university arts programs: What is
the appropriate balance between theoretical and practical work? How can
the intensive skills training which constitutes a large part of the
preparation of the artist be brought within a university curriculum? How
can the special forms of mental and physical concentration required
of an actor or dancer be fostered along with the study and reflection
that characterizes an academic environment? How can we best deal with
the great range in levels of talent and experience students bring to
our courses? How can we choose emphases within a set of highly complex
disciplines? What kind of students do we really want to produce? An
added question for us has been - How can interdisciplinary or cross-
disciplinary work be encouraged without sacrificing the integrity or
the demanding requirements of the individual arts?
Our best answers to
these questions,
?
considered within
severe limitations
of space, money, and
students' ?
time, are implied in the
program descrip-
tions which follow.
A few general observations are in
order here, however.
S
First, the level of maturity of our present student population is unusual
and is subject to change. The average age of students in our programs is
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.
fairly high and many have taken substantial university work previously.
In part this is no doubt a reflection of general demographic trends at
Simon Fraser. It also is likely caused by the fact that our programs
are new and only now available to advanced students who have long been
interested In the arts. Moreover, it is probable that high school
counsellors will recommend Simon Fraser more strongly to arts students
once major programs are In place. This shifting terrain means that
our planning must account for two fairly distinct student bodies. The
mature student tends to want, and in our view is best served by, a
concentrated exposure to an arts discipline; the various career
opportunities in the arts and arts-related fields should not be delayed by
excessive general requirements. The younger student, whatever his
or her desires, needs to be directed to other fields of study as well.
Even a young student, however, may enter with quite substantial previous
training in an art. Our curriculum has to account for quite various
levels of prior knowledge. We wish Simon Fraser to remain an institution
at which students can first discover an interest in the arts and build
on that discovery; we need both to maintain relatively open access
introductory courses and to serve the talent which comes to our attention
with the highest level of training we can provide.
The solution to this problem seems to us to lie in designing programs with fairly
heavy requirements which can be administered with reasonable flexibility.
By requiring 30 hours of lower division work in the department as prerequisites for
majors and coupling this with both a selected entry system to the
major programs and careful advising toward that selection, we can insist
upon an acceptable training base from each student, tailor the programs
to the real needs and abilities of differing students, and encourage
cross-disciplinary work. By insisting upon a studio core of 20 hours
in the upper division plus 18 hours of additional work fairly loosely
prescribed, we can insure both an adequate level of training and an
acceptable balance of critical work, enable students to develop special
. ?
lines of interest, and explore possible emphases for more fully
elaborated programs in the future.
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It should be noted that although these potential requirements, outlined
further below, are fairly rigorous by the standards of many other depart-
ments in the University, they are not at all heavy by the standards of
fine and performing arts training. They are only an acceptable minimum
for practically oriented majors worthy of the name. We envision the
eventual strengthening of these programs as resources permit toward
honors, B.F.A. or diploma programs which will pay more adequate attention
to the specialized needs of. the arts. In our view, however, the introduc-
tion of major programs and some additional minors is not justified simply
as a stepping stone to further development; It is justified as a fulfill-
ment, at a new level, of our fundamental purposes.
What we wish to foster in all our programs is a felt understanding of
the nature of creative activity in the arts, together with the ability
to bring creative ideas to fairly refined expression within the individual
disciplines. We conceive programs in which the training needs of the
arts are fairly addressed and in which technical skills are developed
beyond a rudimentary level. What we believe special about our programs,
however, is that these skills are always held in connection with a
larger concept of art, not through a casual combination of theoretical
and practical work but through a confrontation both with what is
problematical and difficult In the making of art and with the sense
of possibility which is art's fundamental impulse. Our programs are
not professionally-oriented training programs in a conservatory sense.
They are demanding engagements with individual art forms. As such, they
neither serve a narrowly conceived job market nor provide simply an
alternative concentration for the general student. We do believe that
many of our students will make careers in the arts either with or
without graduate study elsewhere. We also believe that those who do
not will have received a useful general education. We wish to assert
as strongly as possible, however, that our primary aim is to encourage
students of talent and dedication to experience that creative and
critical vitality which is special to the arts and which stands
.
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against the commonplace both in the arts and in society. The
practice of the arts can embody a unique sense of freedom, aspiration
and concern. Preparation for this sense of life is in our view the
highest goal an undergraduate education can attain.
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II. THE PROGRAMS
A. ?
DANCE
The dance major will require 30 credit hours of lower division prerequisite
FPA. courses, normally to include twelve to fifteen credit hours of
studio work in dance. Some additional specifications of courses
within the thirty hours (e.g., "arts in context" course, technical
theatre course) will be made following further discussions within the
department.
Entry into the major will be contingent upon acceptance into the
first upper division studio course. A demonstration of knowledge
and skills prerequisite for the major may also be required if the
student has not chosen to take certain lower division courses.
In the upper division each major will take the studio core of 20
credit hours, plus 18 hours of upper division FPA. credit, at least 10
of which will be in dance and some of which will be in specifically
required courses, to be decided following further discussions.
Each dance major must complete 24 credit hours outside the
department as part of degree requirements.
DANCE COURSES
Lower Division:
S
1^1
FPA. 120-3
0-0-6
Introduction to Contemporary Dance
As at present, an introductory studio course, but
now intended specifically for those without previous
dance experience.
FPA. 121-3
?
Contemporary Dance Fundamentals
?
S
0-0-6
?
As at present, an available sequel to 120.
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(NEW) ?
FPA. 122-3
?
(Advanced Introduction)
0-0-8
A course designed to take the same approach as 120,
but for those with significant previous dance experience.
The total number of sections of 120 and 122 available
need not increase over the current number of 120 sections.
(NEW)
?
FPA. 123-3
?
(Advanced Fundamentals)
0-0-8
A sequel to 122. One new section per year would be
required. Students who have taken 122 and 123 for
credit could not earn credit for 120 and 121.
(NE W
)
?
FPA. 124-3
?
(Body Placement and Structure)
0-2-4
Fundamentals of dance placement will' be approached
through basic ballet technique in four studio hours
per week. An awareness of the structure and function
of the human body will be approached practically in
in the studio sessions and analytically in one two-
.
?
hour seminar each week. One section per year would
be required.
FPA. 220-3
?
Contemporary Dance Technique and Theory I
0-0-8
As at present, a studio course combining the three
major areas of technique, composition, and improvisation.
A limited entry course.
FPA. 221-3
?
Contemporary Dance Technique and Theory II
0-0-8
(NEW) ?
FPA. 224-3
?
(Ballet for Modern Dance)
0-0-10
A course which builds on the work of FPA. 124 to give
the modern dancer some experience of ballet technique.
This course will meet for 10 studio hours, with no
outside preparation required. It will normally be
offered only during the summer semester.
In
addition to
the above courses it
would be
desirable to
introduce
a small
group studio
situation in which
the dance
problems of
individual
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students could be addressed. It is also desirable to have more
opportunity for technical practice available in the lower division for
the serious dancer. Although neither of these options is necessary
for the introduction of a major, we will be looking for ways to provide
these opportunities at a relatively low cost.
Upper Division:
FPA. 320-5
?
Contemporary Dance Technique and Theory III
0-0-12
The first of the upper division studio core courses,
combining technique, composition, improvisation and
some theoretical considerations. Both the contact
and credit hours are raised from the present 320.
S
(NEW)
(NEW)
FPA.321-5
?
(Contemporary Dance Technique and Theory IV)
0-0-12
A new sequel to 320.
FPA. 420-5
?
(Contemporary Dance Technique and Theory V)
0-0-12
(NEW)
FPA. 421-5
?
(Contemporary Dance Technique and Theory VI)
0-0-12
These courses are the extension of the studio core
through the fourth year. Because the work of these
courses is to gradually build the dancer's ability
through a constantly changing set of dance problems,
and because instructors for the courses will vary
from semester to semester, the third year and fourth
year groups can successfully be taught together in
both semesters.
Because of this only a single such course will be
taught in each Fall and Spring semester, and will
include all the advanced dance students. The total
number of majors will be limited by the size of this
course (a maximum of 30). Ideally, this course
will he taught during one semester by a visitor, who
will also direct a production, a system used very
effectively in 77-3.
FPA. 324-3 ?
Dance Composition
0-4-0
FPA. 326-3
?
Dance History
2-1-0
?
(NEW) ?
FPA. 426-3
?
(Dance Analysis)
0-3-0
This course is designed to advance the student's
historical and critical knowledge of dance beyond
the level obtainable through FPA. 326, 382, and 384.
The course will involve a detailed examination of
selected works of choreography in live performance,
on film, or as reconstructed from written material.
The aim of the course will be to increase the student's
awareness of the interactions between technique and
style.
?
(NEW) ?
FPA. 423-5
?
(Choreographic Project)
.
?
A course in which each student will create a dance
piece for workshop or production performance. Each
student in the course will also participate in at
least one dance created by another student in the
course.
FPA. 424-5
?
Directed Studies in Dance Performance
FPA. 425-5
?
Intensive Studies in Dance
?
(NEW) ?
FPA. 429-5
?
(Directed Studies in Dance Research)
A course available for those who wish to continue
historical and critical study.
Other courses closely related to the dance program are listed
under Interdisciplinary Courses, below.
a
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B. ?
THEATRE
The theatre major will require 30 credit hours
of
lower division prerequisite
FPA. courses, including the equivalent of at least 12 credit hours
studio work. Some additional specifications of courses within the
thirty hours (e.g., theatre history and literature, technical theatre)
will be made following further discussions in the department.
Entry into the major will be contingent upon acceptance into the
first upper division scene study course. A demonstration of knowledge
and skills prerequisite for the major may also be required if the
student has not chosen to take certain lower division courses.
In the upper division each major will take the studio core of
20 credit hours, plus 18 hours of upper division F'A. credit, at least
10 of. which will be in theatre and some of which will be in specifically
required courses, to be decided following further discussions.
Each theatre major must complete 24 credit hours outside the
department as part of degree requirements.
THEATRE COURSES
Lower Division:
FPA. 150-3
?
Basics of Theatre
1-0-4
A course similar to the present course except restructured
to provide a sufficient number of studio hours for some
beginning work In acting. It is anticipated that initially
the course will be offered in the Fall semester only and
for a maximum of seventy-five students. Assuming that the
lecture portion of the course can be coordinated among
theatre faculty, the total cost of the course will increase
less than 20%.
40
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FPA. 151-3 ?
Introduction to Acting
0-0-6
Structured similarly to the present course except
that it will become a selected entry course, with
enrollment limited to thirty. A single additional
section will be required.
(NEW) ?
FPA. 156-3
?
(Theatre History and Literature I)
2-1-0
A course concentrating on a progressive examination
of stage history and dramatic literature.
(NEW) ?
FPA. 157-3
?
(Theatre History and Literature II)
2-1-0
A continuation of FPA. 156.
FPA.250-3 ?
Dramatic Interpretation I
0-0-8
As at present, a limited entry first intensive studio.
S ?
FPA. 251-3
?
Dramatic Interpretation IT
0-0-8
FPA.
254-3 ?
Supplementary Studies for Actors I
0-2-6
As at present, this course will combine skills
laboratories, actual production experience and
seminars designed to build the students' knowledge
of dramatic literature.
FPA. 255-3
?
Supplementary Studies for Actors II
0-2-6
It is not necessary, but highly desirable to introduce a second
section of FPA. 250 and 251 as soon as resources permit. This change
will enable a maximum of thirty students to complete the second year,
thus providing more students than those entering the upper division
studio core with the. necessary base of practical experience to profit
from several of the other upper division theatre courses. Majors
. ?
outside the acting emphasis, a revised minor in theatre, and joint
majors with other departments would then become possible.
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4
FPA. 350-4
0-0-8
FPA. 351-4
0-0-8
(NEW) ?
FPA. 352-4
0-0-12
(NEW) ?
FPA. 353-4
0-0-12
Scene Study for Actors I
This course would remain as at present except for an
increase in credit of one hour.
Scene Study for Actors II
(Acting Skills I)
(Acting
Skills II)
These two courses would replace the present FPA. 354
and 355, Supplementary Studies for Actors Ill & IV. They
would involve assigned skills laboratories emphasizing
regular voice and movement training. As at present,
the
skills
laboratories could be handled by instructional
specialists, although depending on the abilities of
regular faculty and the availability of sufficiently
qualified specialists in the Vancouver area, it might
prove desirable to have them taught on another basis.
Upper Division:
Studio Core:
(Scene Study for Actors III)
(Acting
Skills III)
(Acting
Skills IV)
These courses are optional extensions of the previous
skills
workshops, concentrating on voice and movement,
intended for and limited to those few majors who can
most benefit from such work. Because of the laboratory
nature of these courses, it will be possible to overlap
them to a considerable degree, although not entirely,
with FPA. 352 and 353. Although fairly expensive,
this method of handling
skills'will
cost substantially
less than comparable training at other universities.
(NEW) ?
FPA. 450-4
0-0-8
Other Courses:
(NEW)
?
FPA. 452-4
0-0-12
(NEW) ?
FPA. 453-4
0-0-12
0
.
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FPA. 456-3 ?
Conceptual Approaches to Drama
0-2-4
This course, in which new performance concepts are
explored in relation to Shakespeare's plays, is a part
of the present minor program. It is a model for a small
number of courses we wish to develop which require
both analytical and performance skills. The following
four courses need not all be introduced, nor need
all of them be taught very frequently, but they are
indicative of the kinds of interactions of practice
and theory we wish to foster.
(NEW) ?
FPA. 356-3
?
(Dramaturgy)
0-2-4
This course will concentrate on a single play or small
group of plays from a selected historical period. It
will examine the conditions in which a text is written
in relation to the conditions of modern performance.
Substantial reading and discussion of historical source
materials will be required, not in order to mimic a
particular style on the contemporary stage, but so
that students can experiment in the studio with the
translation or re-creation of period drama for a
modern audience.
(NEW) ?
FPA. 357-3
?
(Adaptation)
0-2-4
This course will give students practice in the
adaptation to dramatic form of non-dramatic materials.
The creation of documentary drama from historical
matter, adapting imaginative work in other genres or
re-creation of present observation would all be
possible. The course will involve practical
experimentation and testing in the studio along with
research and creative work elsewhere. This course
should help students to develop or deepen an interest
in playwrighting.
(NEW) ?
FPA. 358-3
?
(Directing)
0-2-4
A single course on directing which can lead to the
development of this emphasis for a few students through
directed studies.
.
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(NEW)
?
FPA. 457-3 ?
(Playwrighting)
0-2-4
A single course on playwrighting can be effective
because it builds on the adaptation course and because
the pre-requisite of some acting experience will make
testing and experimentation available within the
course itself.
(NEW)
(NEW)
FPA. 458-5
?
(Directed Studies in Theatre I)
A course through which students can obtain credit for
significant, coherent, and instructive project or
production work which is related to the emphasis of
their studies. This and the following course should
be introduced even within the framework of the present
minor because they create credit opportunities for
work which is now taking place within present
production and faculty resources.
FPA. 459-5
?
(Directed Studies in Theatre II)
Other courses closely related to the theatre program are listed
under Interdisciplinary Courses, below.
0
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C. ?
VISUAL ARTS
The visual arts minor will combine a progressive series of studio
courses in both the lower and upper divisions with arts In context
courses and with upper division seminars which explore critical and
historical issues in relation to studio work. The general pattern
of requirements will be quite similar to our present minors in dance and
theatre.
As in the other disciplines, the approach to studio work in the
visual arts is conceived in a special way, and deserves some explanation.
The visual arts rest on highly elaborated technical traditions, which
we cannot hope to convey with both breadth and intensity in a limited
program. It is also the case, however, that contemporary artists tend
to confront these traditions, and are critical of the routine domination
of technique where this occurs. By arranging a studio program which
focuses on the problems and possibilities in the making of art, In
which technical instruction tends to follow the developing concerns of
the student, we plan to offer an approach which both acknowledges the
contemporary state of the arts and differs from fine arts opportunities
available elsewhere in the province. Our students will receive careful
instruction in the techniques of various media, but they will also be
trained in analysis and encouraged to develop an open concept of
art-making. We will expect our students to be creatively restless and
critical, developing through practice and discourse modes of expression
which are applicable to a number of visual arts media and which also
have relevance to the other programs of study in the Centre.
Through the three required lower division studios, which are
presently in place, students undertake a series of assigned problems. They
can exercise choice in the means through which they fulfill these assign-
merits,
but the entire series
is calculated to give them
an acquaintance
with a
range of contemporary
techniques and attitudes.
These techniques emphasize
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.
drawing, painting and three-dimensional construction, but also include
the mechanical and electronic reproduction of images in photography.
print-making and video, as well as the possibilities provided by newer
visual arts fields such as performance and language. By the end of
the second year students are expected to have discovered a particular
concentration of interests.
In the tipper division work students will he expected to Intensify
their study of particular areas. By adding at this point a set of
seminars which examine selected problems in the making of art, we hope
to provide a constructive pressure on the work of the studio. A final
semester of independent though guided studio work provides each student
with the opportunity to produce a small body of exhibitable work as the
culmination of that student's training. We are actively exploring
mechanisms whereby students whose interest require better equipped
studios than we can provide can gain access to such possibilities at
other institutions. Such stud
ents
would remain under the supervision.
of our faculty in all work undertaken for credit at Simon Fraser
University.
MINOR REQUIREMENTS - minor requirements will include as prerequisites at the lower
division three studio courses plus two context courses, a total of
twenty-one •hours. At the upper division there will, be two studio courses,
two seminars, and a directed study course for a total. of seventeen hours.
VISUAL ARTS COURSES
FPA. 160-3
?
An introduction to the Image
0-0-6
?
An introductory studio course, open to all students
(NEW)
?
FPA.161-3 ?
(Introductory Studio IT)
0-0-6
?
Like similar courses in dance and theatre, this is a
second first year studio, providing an optional
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.
extension of FPA. 160 for those who wish to continue
their work in the first year. Although this course
is not required for entry into 260, we anticipate
that many serious students will want to avail
themselves of it. It also provides students with
limited previous experience an opportunity to develop
greater proficiency in technique..
FPA. 260-3
?
Studio in the Visual Arts I
0-0-8
As at present, a limited entry course.
FPA. ?
261-3
Studio in the Visual Arts II
0-0-8
(NEW)
FPA. 360-3
(Studio in the Visual Arts III)
0-0-8
(NEW)
FPA.361-3
(Studio in the Visual Arts IV)
0-0-8
(NEW)
FPA. 366-3
Problems in the Visual Arts I
0-4-0
This and the following course will examine selected
topics in the visual arts in order to encourage critical
and theoretical discourse about the actual process of
art-making. Topics will be chosen to reflect the
interests of students in the studio, but will include
historical considerations. Some possible topics:
The work of art in the age of mechanical reproduction;
Abstraction and physicality in painting: Mondrian,
Pollock, Newman, Stella; Codes of representation in
the history of painting: Vermeer, Manet, Ceianne,
Matisse; Performance as an image-making art.
These courses will be open to reasonably prepared students
outside the visual arts program, and should provide for
some an extension of the critical and historical work
undertaken in the context courses.
?
S
(NEW) ?
FPA. 367-3
?
(Problems in the Visual Arts II)
0-4-0
0
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(NEW) ?
FPA. 469-5
?
(Directed Study in the Visual Arts)
This course will enable students to work fairly.
independently in the studio, with access both to our
faculty and to visitors we may bring in. The objective
of the course will be the completion by each student of
displayable body of work. Evaluation will be based
on the skill with which these projects are brought to
completion. In some instances, students may undertake
the work for this course outside our own studio,
where additional facilities may be available.
.
.
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D. INTERDISCIPLINARY
COURSES
a.
?
CONTEXT COURSES
Although committed to many of the ideas embodied in the present Arts
in Context courses, the Department will shortly begin a critical
re-examination of them.
We do not wish to replace them or to reduce their importance in the
Department, but may wish to modify them to serve our needs better.
The nature of the tutorials and their relation to the lecture, and the
level at which the courses are taught are among the issues to be
examined. We do not anticipate that changes we may propose will,
substantially alter the areas covered by the present four courses,
or their overall costs. Because the substance of these courses fits
best at somewhat different points in the various programs, we will
be considering devices which will make the lectures accessible for
either upper division or lower division credit, perhaps by the
attachment of different tutorials. It may also be desirable to add
a Special Topics number within this category of courses in order to
provide for the teaching of some periods or areas on an irregular
basis.
b. ?
TECHNICAL THEATRE
These courses are listed as interdisciplinary courses because insofar
as possible we wish to make the technical theatre work available and
useful to both dance and theatre students. These courses should come
into existence as soon as possible as we now have the faculty and
other resources necessary to teach them.
(NEW)
.FPA.
170-3 ?
(Introduction to Technical Theatre)
0-2-4
This course will combine basic instruction with
laboratory sessions which may include crew work for
actual productions.
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(NEW) ?
FPA. 270-3
0-2-4
(Technical Theatre II)
This course will be designed to build on earlier
technical work for some students, specifically to
prepare students to undertake craft-roles in produc-
tions. Some consideration of set and lighting design
will be included. This course also will be taught in
cooperation with actual production work. Although
we do not anticipate the development of a technical and
design program in the near future, these two courses,
plus apprenticeship to guest designers, production
experience, directed study and some employment opportun-
ities should provide interested students with substantial
knowledge and skill in this area.
.
C.
OTHER
Interdisciplinary studio - although it is difficult
to design a course of practical work which is outside
a single arts discipline and which respects the
integrity of each of them, we will consider proposing
a single lower division course that permits explora-
tion of interactions among the arts in a studio
setting. If an effective course of this nature can
be designed, it should do much to foster the kind of
cross-disciplinary ferment we would like to encourage.
(NEW) ?
FPA. 489-5
?
(Interdisciplinary Project)
This course will provide the occasion for students to
work under the direction of more than one faculty
member on a creative project involving more than one
discipline. Although such work cannot usefully be
compelled, it seems advisable to create a space for
valid ideas that may arise. Film and Theatre, Theatre and
Dance, Dance and Music, Film and Visual Arts are likely
combinations.
FPA. 382-3
?
Aesthetics of Performance
2-1-0
FPA. 384-3
?
Criticism of Performance
0-3-0
is
is
- 23 -
In addition to these two courses, which have proven to have a valuable
place in the minor programs, we may wish to introduce one or possibly
two new courses in this series, considering aspects of performance
or of the arts generally. We view these courses as having important
linking functions for our own students but not as Intended exclusively
for them. We do not anticipate that any new courses of this type will
require the hiring of faculty specifically to teach them.
.
4
- 24 -
OTHER PROG?1.
Although it can only be a tentative possibility at this time,
it is worth mentioning that as the other programs develop, we will
consider proposing the introduction of a general fine and performing
arts major. Such a program would not involve a disciplinary concentra-
tion beyond the lower division, but would make available in a structured
way some of the critical and theoretical work in the various other
programs. Such a concentration would involve no additional costs, but
might do much to stimulate the kinds of interdisciplinary considerations
we hope to encourage.
Given the introduction of dance and theatre major programs, the
current minors in these disciplines would be significantly restructured
or discontinued. Minor programs of the present type would no longer serve
a significant body of students once the majors were in place. Programs
of minimal or no additional cost designed for students with a significant
interest in these disciplines but without a major commitment to them will
be considered as our planning proceeds.
.
0
- 25 -
.
III. RESOURCES
Although the additional resources required to offer the programs
outlined above may appear substantial, it should be emphasized that
these programs build very heavily on resources that are already in
place. The production work which is a major part of all performing
arts programs already takes place. Maintenance of our theatres and
other production costs need not be increased if the major programs are
approved and would not be decreased if they are not.
We have been extremely cost conscious in the planning of these
programs; we have considered many devices for cutting costs and have
incorporated all these which in our view are consistent with academic
soundness. We believe that significant organizational efficiencies are
•
?
still obtainable within our present overall budget without sacrificing
the publicly oriented programs the Centre runs for the University. We
intend to maintain these programs at a reasonable level, re-structure our
own operations wherever it is efficient to do so, and seek the minimal
additional funding for a Centre of the nature we propose. Fine Arts
programs are not inexpensive, but we believe the additional costs of
the new programs are quite low in relation to what they can achieve.
A. ?
FACULTY
It should be noted that many of the above courses are directed study
or project courses. Our calculations have not included a specific
assignment of contact hours in relation to faculty load for these
• courses. Although it is hoped that some acceptable formula for
teaching credit in directed study courses may be found within the
University, our introduction of such courses will not necessarily
increase total faculty workload. All such courses in our programs
represent work of a kind which faculty are now undertaking with students,
- 26 -
although students at present cannot derive significant credit from this
work.
In order to offer all the programs outlined above, five new faculty
positions would be required. We have been authorized to search for one
of these positions this year. These positions, along with other required
teaching personnel, are as follows:
DANCE - One new regular faculty member required, primarily to teach
studio courses. In addition one half of the visiting position currently
authorized will be regularly committed to the dance program.
In order to maintain a reasonable number of places in the introductory
studio courses, It will also be necessary to teach a total of six
sections on a sessional basis, representing an Increase of two sessional
appointments over our present circumstances. Some increase in the cost
?
is
of accompanists for advanced courses will also be entailed.
THEATRE - Two new positions will be required, one for an individual with
a primary interest in theatre history
,
and one for an individual qualified
to teach acting. The mix of other courses taught by these and present
faculty will depend upon the teaching Interests of the entire group.
It will continue to be desirable to bring in a visiting faculty member
to teach and direct in the program occasionally, but the frequency of
such an appointment and the specific course assignments must await
further developments.
The additional teaching costs of the program will be sessional appoint-
ments to cover 20 hours of tutorial contact per annum in FPA. 150 and
acting skills instructors for the workshops connected with FPA. 254, 255,
352, 353, 452 and 453. At this point, it appears most beneficial to
employ these individuals on a negotiated contract basis, wherever
possible using professional resources in the community.
?
0
'I
S
-
27 -
VISUAL ARTS - One new faculty position will be required for an individual.
with a primary emphasis on studio teaching. We have tentatively been
authorized to search for this individual for next year. Provided that
visual arts faculty continue to have teaching responsibilities in the
context courses, three sessional instructors per annum also will be
required. All upper division teaching will be undertaken by regular
faculty and occasional visiting artists.
INTERDISCIPLINARY COURSES - We do not anticipate employing new faculty
specifically to teach in this area. Depending upon developments it
may be necessary to make a single sessional appointment to cover the
equivalent of one course per annum in one of the disciplines. It may
also prove desirable over time to regularize some of the teaching
•
?
commitments by faculty in other departments now undertaken in a
• secondment basis.
B. STAFF
Although there may be some further adjustment in the duties of current
staff of the Centre for the Arts, we do not anticipate a need for staff
positions in excess of those budgetted for this year. Because these
programs encourage students to be fully engaged in production work
as a learning experience, they can actually have the effect of reducing
overall staff costs.
C.
LIBRARY AND AUDIO-VISUAL
Although we
assume a steady rate of library acquisitions in
the fine
arts areas,
none of the above programs places extraordinary
new
demands
- 28 -
upon the library. Both theatre history and visual arts history are
treated in ways that the library is now almost adequate to serve,
provided that there can be selective course-based acquisitions in
some instances.
The only significant new audio-visual demands will be the steady
growth of the Fine Arts slide library, now housed in the Centre for
the Arts. This collection is well underway, and will require simply
the continued dedication from the Centre's budget of a modest annual
amount.
D. ?
SPACE AND EQUIPMENT
The additional space requirements are difficult to identify exactly,
for several reasons. First, we are presently very cramped; some of the
needs set forth below are also needed for our present programs.
Second, we assume that we will not be moving into space specifically
designed for us for some time.
?
The square footage required
in space without suitable configurations or adequate sound separation
will be considerably larger than in specially designed facilities.
Third, the most efficient use of our present space in the theatre
cannot be arranged until additional space becomes available. Finally,
there is in some instances a trade-off between space and equipment
requirements, particularly in relation to the question of whether to equip
a new theatre or maintain an extremely tight schedule in the main theatre
for both teaching productions and public events. Our choices in these
matters appear to us to have the greatest overall cost-efficiency, given
our sense of the space that may become available over the next few
years.
a
0
- 29 -
DANCE - one additional dance floor will be required, preferably a
space large enough to accomodate production rehearsals, thus relieving
some pressure on the theatre. Two smaller spaces, suitable for
choreographic work will also be needed. Additional equipment require-
ments will be very minor.
THEATRE - One additional theatre space, suitable
for
studio teaching,
production rehearsals, and for the presentation of informal (not tech-
nically abetted) performance in theatre and other arts. In addition,
five small rooms suitable for scene work will be needed close to at
least one of the studios. Both dance and theatre will require an
adequately maintained main theatre.
VISUAL ARTS - A fairly large on campus studio will be required in
addition to the present off-campus studio. The on-campus studio would
. ?
be used for lower-division work and for project work requiring equip-
ment available on campus. The off-campus studio, which is close to the
Vancouver School of Art, would be used for upper-division studios
and some independent study. The program design entails no major new
equipment on a scale typical of visual arts programs, although some
of the present equipment should be gradually augmented.
E.
?
DUPLICATION
It seems appropriate to address this question, in both its intra-mural
and province-wide aspects, as a resource matter.
- 30 -
Within the University, we have examined all the possibilities we could
think of for combining courses and faculty from other departments,
have included all these we believe consistent with our purposes, and
have refrained from moving into areas where similar opportunities
already exist on campus. The only area where we believe questions
might arise is theatre history, but our approach to the subject in
both course structure and faculty requirements is quite different
from that taken by the English Department.
In our view, the programs outlined above complement, but do not duplicate
opportunities for fine arts study now available in the province. There
is no other university dance program in British Columbia; our theatre
program has a significantly different emphasis from the other university
and college programs; the visual arts minor is conceived as.a
non-conventional alternative to what presently exists. Furthermore,
there is no opportunity in Canada for the kind of integrated study of the
arts we will provide.
We expect that students will be drawn to our programs from British
Columbia and from across Canada, in part to study a particular art, but
also because of the nature of the Centre as a whole. They will be able
to study an art form seriously under highly qualified faculty. They
will receive a fair measure of practical work concentrating on particular
aspects of the discipline, and they will undertake carefully related
critical and analytical study. Most especially, they will study in an
environment where creativity is fostered in all the arts, where links
are sought among them and where a strong emphasis is placed on the
contemporary task of the artist.
Evan Alderson
S
December 7, 1977 ?
0
